Rock ’n’ Roll
Although the emergence of Rock ’n’ Roll music in the United
States of America has been traditionally associated with images of sexual
intercourse, that is, the rock was the penis, and a woman rolled around on top,
or underneath, etc., by the late 20th century there’d been a paradigmatic shift
towards Rock ‘n’ Roll being understood to mean the coffin box, with the
occupying corpse inside rocking over the metal rollers on the way for the
disease to be rolled out and incinerated. The genre was characterized in its
early days as ‘rhythm and blues’, while the term originated sometime around
Bill Haley and His Comets’ (1952-) release of ‘Rock Around The Clock’ (1954),
interpreted as a popular euphemism for 24-hour sexual intercourse, or the dance
marathon; a sponsored charity activity:
‘When the clock strikes twelve, we'll cool off then
Start a rockin' round the clock again
We're gonna rock around the clock tonight
We're gonna rock, rock, rock, 'till broad daylight
We're gonna rock, gonna rock, around the clock tonight.’1
After its
introduction in 1982, police adopted the Glock, a semi-automatic hand gun,
manufactured by Austria’s Glock Ges.m.b.H., which gave a whole new meaning to
rockin’ around. Especially in Eastern Europe, where the communist former Soviet
Union had occupied nations as its client satellite Republics, subsequent to the
defeat of German ambitions to enslave Europe in WWII (1939-45). The withdrawal
of the Union of Soviet Socialist Republics (USSR) from 1991, with its formation
of the Commonwealth of International States (CIS), along with Byelorussia and
the Ukraine, as the equally ‘Godless communism’ of the Russian Federation, however,
resulted in a war torn region susceptible to bouts of ‘ethnic cleansing’, for
example, in the former super state, Yugoslavia, ‘rape camps’ were built by Serb
militia, during the Bosnian war (1992-95), to incarcerate Moslem women and give
them ‘Christian’ infants. The communist church was being built on the rock of
its Glock’s rounds.
The 1950s rock genre became
submerged in a more mellow sound, labeled ‘Surf’ music, which owed much to improved
studio technology, as well as that of the musicians’ instruments. During the
period of the marketing of ‘the king of Rock ‘n’ Roll’, Elvis Presley, as a
popular movie star, in the role of Lucky Jackson, alongside everyone’s favorite
dancer at a beach party, actress Ann Margret, as Rusty Martin, in Viva Las Vegas (1964), after his role as
ex-con Vince Everett in the earlier, more raunchy, Jailhouse Rock (1957), set the standard:
‘Number forty-seven said to number three:
"You're the cutest jailbird I ever did see.
I sure would be delighted with your company,
Come on and do the Jailhouse Rock with me."’2
The Beatles had led
the English foray into rock, becoming subsumed as the popular ‘pop’ music
modern genre, since their founding in 1960, and the ‘beat’ group were most
successful in touring the US, before breaking up over ‘musical differences’ in
1970. The contemporary rock music scene, resuming the foreground in 1969, with
the founding of the English group, Led Zeppelin, ensured continuity. Inspired, ‘heavy
rock’ groups flourished in the USA and Britain, for example, in the US, Jefferson
Airplane (1965-), and The Eagles (1971-), and in England, Pink Floyd (1965-),
and Genesis (1967-), characterized by soft melodies alongside harder electric resonances.
Led Zeppelin’s musical style was sufficiently unique to be recognized as an
entirely new genre, ‘heavy metal’ music, with imitators, for example, Canada’s
Rush (1968-), US’ Bon Jovi (1983-), and Guns ‘n’ Roses (1985-), and England’s
Deep Purple (1968-), and Black Sabbath (1968-), distinguished by searing lead
guitar riffs, and a rhythmic pounding from drums and bass guitar; allied to often
surprisingly mellifluous vocals:
‘From the houses of the holy
We can watch the white doves go
From the door comes Satan's daughter
And it only goes to show
And you know.’3
After a period of
what was known as ‘pomp rock’, because of its orchestral style, as practiced by
such US’ ‘stadium bands’ as Kiss (1973-), Foreigner (1976-), Toto (1977-), England’s
Supertramp (1969-), and Sweden’s Europe (1979-), there was a movement, particularly
in the US, towards ‘grass roots’ reassessment, and the ‘grunge metal’ of what were
termed ‘garage bands’, for instance, Nirvana (1987-) and Pearl Jam (1990-),
came to take center stage, because of the simplicity of their preparation,
recording and performing, although the final sound was as well produced by the
record companies as the operatic sound of the pompously inflated had been. In the
late 1970s in Britain, which earlier in the decade had adopted as its flagship,
‘Glam Rock’, projecting a macho image of a hermaphrodite, wearing lipstick and
eyeshadow, the desire to reexamine basic underlying impulses resulted in the
social disgust of ‘Punk Rock’, a spare grass roots’ musical style; primitive,
and rebellious, which in the rock genre produced similarly abrasive metal bands;
like Saxon (1977), prescient of 9/11,* ‘747 (Strangers in the Night)’, and Def
Leppard (1980-):
‘We've got a 747 coming down in the night
There's no power, there's no runway lights
Radio operator try to get a message through
Tell the flight deck New York has no lights
There's no power what do we do?’4
Renewed by ‘the Punk
explosion’, the 1980s British music industry asserted a changed image, with its
‘New Romantic’ movement, a genre thoughtfully formulated, and implemented sensibly
by ‘art house’ groups; such as Joy Division (1976-), Duran Duran (1978-), named
for actor Milo O’Shea’s portrayal of the villain, Durand-Durand, in the science
fiction movie, Barbarella (1968), starring
alongside actress Jane Fonda, Ultravox (1974-), and Spandau Ballet (1979-). As hard
rock reestablished itself in Britain, with bands like the Irish U2 (1976-), Scotland’s
Simple Minds (1977-), and England’s Echo and the Bunny Men (1978-), despite the
US’ market’s apparent permanent preference for ‘Soft Metal’, metal music began
to throw up competing genres with such horrific titles as, ‘Thrash Metal’, ‘Death
Metal’, and ‘Doom Metal’, seemingly dependent on the notion that apocalyptic
holocaust at high speed was what the audience wanted to musically savor; filtered
through the theatrical performances of US’ bands like Slayer (1981-), Anthrax
(1981-), and Megadeth (1983-):
‘Foreign life forms, inventory
Suspended state of cryogenics
Selective amnesia's the story
Believed, foretold, but who would suspect?
The military intelligence
Two words combined that can't make sense.’5
From a literary and/or
religious perspective the metal genre embraced horror and Satanism, as its ‘Black
Metal’ and ‘Power Metal’ message, with US’ bands, like Marilyn Manson (1989-), a
group led by Brian Hugh Warner’s alter-ego, named for the infamous nihilist
‘guru’ Charles Manson, who murdered actress Sharon Tate. A star, in her role as
Jennifer North in the 1967 movie, based on Jaqueline Susann’s 1966 novel, Valley of the Dolls, about women’s
addiction to ‘downers’ that is, barbiturate drugs, in the entertainment
business, Tate was killed by the pseudo hippy, drug addled, psychopathic ‘death
cult’ gangsters of Manson’s ‘family’ in the early hours of August 9th,
1969. Thematically, England was ‘Gothic’, that is, specific to Europe, because
its torture chambers were Medieval, although Sisters of Mercy (1980-), Southern
Death Cult (1981-), and Cradle of Filth (1991-), and in Finland Nightwish
(1996-), shared the morbid preoccupations of their North American cousins; the
grave, and the impossibility of escaping from it:
‘We don't need a bigger knife
‘Cause we got guns
We got guns, we got guns
We got guns, you better run
We're killing strangers.’6
The rock group that
really grasped the nettle, however, and ran with the concept of electricity,
with Angus Young on lead guitar, was Australia’s AC/DC (1973-), which means
alternating current (AC), and direct current (DC), that is, a difference in terms
of how electric is supplied for domestic and industrial use, for example,
studio recordings and concert performances, although it’s also a term for
bisexuality in the slang of popular culture, where the choice of a sex partner
isn’t determined by a preference for one gender or another, which is important,
as AC/DC’s ‘Big Balls’ (1976) show, because there are more genders than male
and female:
‘I've got big balls
I've got big balls
They're such big balls
And they're dirty big balls
And he's got big balls
And she's got big balls
(But we've got the biggest balls of them all).’7
Jesus ‘Christ’, ‘the
chosen’, born from his mother, the Virgin Mary, was women’s seed, a more than
symbolic interpretation, because women can sexually reproduce with each other
as the hermaphroditic futanarian aspect of their human nature, which is alluded
to by the creator, God, in the paradise of Eden, according to the Judaic Old Testament of the Christian Bible, which is the Jews’ history and
law, that is, their Torah and Talmud, ‘You shall crush the head of the serpent
with your foot, but he will bruise your heel.’ (Gen: 3. 15) The woman, Eve, and the first man created by God, Adam,
were told to ‘eat only of the fruit of the tree of life’, as it brought
immortality, and not of ‘the tree of the fruit of the knowledge of good and
evil’, which it was death to taste. However, the angel, Satan, who’d been
turned into a serpent by God, for rejecting God’s plan that the human host be
greater than the angelic, said ‘You shall be as gods.’ (Gen: 3. 15) Expelling Eve and Adam from Eden, God promised Eve her ‘seed’
would prevail, which is why Jesus’ mother is depicted crushing the head of the
serpent with her foot in Christian iconography, as Jesus is the futanarian foot
of women’s seed, whose New Testament
teaching Christians view as superseding the Old
Testament law of the Jews, ‘Love your neighbor as you love yourself.’ (Mk: 12. 31)
When Jesus’ disciple,
Judas, found a woman anointing him with the expensive perfume, spikenard, his
spy canard was that the perfume should be sold to raise money, but Jesus
demurred, ‘Leave her alone.’ (Mk: 14.
6) Judas betrayed Jesus to the Jewish religious police for ‘thirty pieces of
silver’. Taken to the hill of Calvary outside the city of Jerusalem in Roman
occupied Jewish Palestine, Jesus was executed for being with a woman, but he
experienced Resurrection and Ascension to heaven in prefiguration of that of
women’s seed, which is why he was the foot of the Virgin Mary, ‘the second
Eve’, crushing the head of the serpent, as women’s brains’ power is destined to
develop starship technologies, along with the immortal memory needed to
maintain that computationally demanding ‘operating system’, through the medical
science of rejuvenation, so to get the futa
race off the ground in escaping host womb slavery in parasitism to colonize the
planets amongst the stars of heaven.
From a communist
perspective, Jesus was a gang member in dispute with his consiglieri, Judas, who wanted to make perfume out of women, that
is, as Jesus wouldn’t share the woman, he wasn’t adhering to the basic
principles of the commune, ‘from each according to his abilities, to each
according to his needs’, which interfered with the homosexuals’ harvesting of
musk from the glands of women’s seed to produce scent. Peter mightn’t be a rock
with a Glock; however, a few rounds later, he’d be the first Pope: head of the
Christian church in Rome. The gang could then get on with selling the human
race snort.
Although AC/DC
acknowledge bisexuality in their heavily anthemic music and lyrics, there’s a
total absence of futanarian women’s seed rock in popular music, while sexually
explicit and alluring all-women band line-ups, for example, England’s Spice Girls
(1994-), the US’ Pussycat Dolls (1995-), and South Korea’s Blackpink (2016-),
are so common as to be passé, suggesting
a deeply ingrained chauvinism, which isn’t entirely misogynistic, but
misanthropic, that is, as evinced in the lyrics to Blackpink’s ‘Kill This Love’
(2019), it’s hatred for man, or rather for what’s human:
‘We must kill this love (Yeah, yeah!)
Yeah, it's sad but true
Gotta kill this love (Yeah, yeah!)
Before it kills you too.’8
The implicit, and sometimes explicit, imagery in the music,
and promotional videos of AC/DC, is electrocution, that is, brain burning in
the electric chair, which is what killers convicted of premeditated murder
experience if they’re executed in that way. With tracks such as, ‘Hell Ain’t A
Bad Place To Be’ (1977), ‘Highway to Hell’ (1979), and ‘Hell’s Bells’ (1980),
it’s evident AC/DC have some understanding of the danger posed by the fires of
hell; the perdition of eternal unendurable pain meted out by God to the evil,
according to Jesus’ disciple John’s apocalyptic vision of the future, Revelation, ‘Men cursed the God of
heaven for their pains and their sores, but refused to repent of what they had
done.’ (Rev: 16. 11)
The variant of the
simian immune deficiency virus (SIV), discovered in infected semen transmitted
between homosexuals inserting their penis into each other’s anuses by communist
Africa’s DR Congo in 1983, that is, the human immune deficiency virus (HIV),
resulting in acquired immune deficiency syndrome (AIDS), collapse of the organs,
and brain death, was the virus of hell. As scientists found it’d made humans
susceptible to severe acute respiratory syndrome (SARS),9 which plague killed
millions throughout the world after its December 2019 emergence in virulent
form at a Wuhan city hospital, Hubei province, communist China, the symptom of
flatulence was significant, because it indicated that anal penetration spreads
SARS virally, that is, fierily, through flammable fart gas. When the President
of the communist Russian Federation, Vladimir Putin, ordered the Red Army to
invade the Ukraine, armed with the missile launched heavy flamethrower system,
TOS (TOC), an initial SARS-like flammable vapor was ignited, creating a
vacuum sucking all of the oxygen from the lungs fierily, so demonstrating that world
events were heavily influenced by Rock ‘n’ Roll, with its underlying emphasis
upon worshiping the Greek god, Thanatos, that is, death, incineration, and racial
extinction, while the Ukrainians, for instance, preferred to have life,
civilization, culture and art, rather than toss.
That the carbon
monoxide gas emitted from the back end exhaust of a car is poisonous is proven,
whereas that the flammable fart gas virally transmits SARS to the human
system, causing lung collapse and brain death, is biologically systemic. Although
its HIV/AIDS precursor, transmitted through homosexuals’ infected semen during
anal penetration, is thought to have weakened the human system to the extent
that farting in SARS sufferers is an indirect sign of the effects of the virus
of hell, new craniums burning in the Ukraine was a direct sign of fighting and
the fires of hell, while the institutionalization of homosexuality in pederasty
for war against women’s seed, to host womb slave the human futanarian species, was
documented as public policy as long ago as its democracy in Greece was ancient.
For armies, they’re
men as long as they serve, and killed if they won’t serve, which is what
faggots around a man are for. When Jesus met a man on the road to Gadarene who
was possessed by demons, the man told him, ‘My name is Legion; for we are
many.’ (Mk: 5. 9) At the time of the
reign of the Roman Emperor, Tiberius Caesar Augustus (14-37 C.E.), the legions
of Rome occupied Jewish Palestine, where Jesus, who could walk on water and
resurrect the dead, was being accused of hubris,
because he labored on the day of rest, that is, Saturday in Judaism, which was
traditionally set aside for recuperation, as God created the world in six days,
according to the book of Genesis in
the Old Testament, and rested on the
seventh.
As Jesus was similar
to the Jews’ leader, Moses, who parted the Red Sea for the Jews to escape
pursuit by the Egyptian Pharaoh Thutmose III (1485-1431 B.C.), during their
exodus from slavery in Egypt to the land God promised in Palestine, and their
military leader, Joshua, whose trumpeters blew to bring down the walls of the
city of Jericho, the Jews’ rejection of Jesus suggests they’d become degenerate,
as he wouldn’t be a man with men serving the Empire, that is, a slave.
Jesus drove the
demons out of the man he met near Gadarene, who asked if they could inhabit a
herd of pigs instead, and Jesus agreed. The pigs ran off a cliff and drowned in
the sea, as that’s what armies do with humans. As war is homosexuality in
pederasty for the host womb slavery of the futanarian human species of women’s
seed by force, demons are faggots surrounding a man seeking to virally consume,
which is why they’re the virus of hell.
In the Middle Ages, which
was a period of relative ignorance, lasting from the 5th to the 15th
century, witches were burned at the stake with faggots burning fierily, while
the demons, and the demon-possessed, consigned their victim to the fires of
hell. However, as witches with broomsticks to ride represent women’s seed, it’s
the faggots that’re for hellfire, which is the word of God to the prophet
Jeremiah, as it is to Kiss’ lead singer, Gene Simmons, who breathed fire in the
band’s stage act, ‘I am making my words in your mouth a fire, and this people
wood, and the fire shall consume them.’ (Jer:
5. 14) God’s word isn’t a heavy flamethrower system, consuming virally as a
‘biological weapon’ directed by homosexuals, because God isn’t the ‘red dragon’
of Revelation, which is the ‘dragon
tongue’ of a smoker’s cough. To the evil, humans are their coffin, whose
content they cremate virally, which is what homosexuality’s AIDS/SARS is. AIDS
was the telegraphed punch thrown by the Marquis de Sade in his novel, 120 Days of Sodom (c.1785), which advocacy of what was termed ‘sadism’, that is,
torture for pleasure, surfaced as Sade’s, that is, AIDS, an ‘incurable killer
disease’ transmitted by the evil through the anus, symptomized by the excruciating
pain of brain death, fierily, because the virus of hell is what homosexuals were
for:
‘Life's a trial by fire
I'm going to live my life, oh yeah
It's a trial by fire
So just roll the dice, oh yeah
And I'll take what I get.’10
Weakened, the human
system was susceptible to homosexuality’s SARS, symptomized by flatulence
produced from the anus, and lung collapse. As they represent sterilization,
that is, virality, homosexuals are sterile, whereas humans are virility; they
create civilization, culture and art, which sterilizing pederasty seeks to
annihilate fierily by virally encouraging sodomy and war, that is, they ‘go
viral’ to use a term familiar to users of social media, where seemingly
innocuous content suddenly becomes the focus of attention for billions; for
example, a seven year old girl’s composition on guitar, recorded on video, and
made available for viewing on YouTube, and other smart ‘phone accessible social
media websites, throughout the world wide web (WWW) internet telecommunications’
network, ‘went viral’, after Jolee RIeffel-Dunn’s lyrical content was
discovered by homosexuality:
‘I wonder what’s inside your butthole
As a human interest
story, it’s pertinent, because homosexuality has attempted to castrate the
human species of futanarian women’s seed, so that it can’t see what’s up mom’s
ass, whereas men’s semen does. Castrated, the human futa race is a single male brained creature, wearing each other’s
clothes as a TV transvestite, so it sees only itself, which is why it’s male
semen for that, while for women it’s a war against an alien that doesn’t want
women for women. Homosexuality is against the law of God, whereas women aren’t
homosexuals, because a woman with a penis of her own is a member of the
species, while homosexuals aren’t, so vaginal and anal sexual intercourse is
permissible for women’s seed, but for men it isn’t, as homosexuality amongst
men is the reason women are host womb slaves to men’s parasitism producing ‘TV
wars’ of human extinction.
According to biblical scholars, ‘poisoner’ is a word
interchangeable with ‘witch’, ‘You shall not suffer a witch to live.’ (Ex: 22. 18) Witches are definable as men,
especially homosexuals, who’re ‘boy zoners’ spreading AIDS, because they want
to be boys’ owners, which is why they’re faggots, SARS, consuming the human futa race virally, that is, as the viral
poisoners of its content; for example, news reports of the destructivity of war
are a sign of the homosexual’s transmission of ‘the monkey virus’, where the infected
doesn’t want advanced technology, which it views as threatening towards its
pastoral ideal. As with Eve and Adam’s son Cain’s killing of his more able
brother, Abel, in Genesis, because
Abel could cook, it was more pleasing to God than Cain’s offering of fruit, who
then reverted to behaving as a simian destroyer of the more technologically
advanced, who’re euphemistically ‘angel tongue’, as they’re for civilization,
culture and art, whereas annihilation is what homosexuals perpetrate before
they’re forced to capitulate, and accept God’s perdition in the fires of hell;
for transmitting the simian virus.
Although Rock ‘n’
Roll has been accused of ‘twisted lyrics’ indicative of Satanical influences,
it’s more logical to assume the workings of the virus, because of the absence
of women’s seed from lyrics and promotional videos, which although the medium
pretends to rebelliousness, with all-girl US’ groups, like Go Go’s (1978-), Bangles
(1981-), and Vixen (1980-), and English groups, such as Girlschool (1978-) and
Sugababes (1998-), it’s still men and women, as a single male brained creature,
wearing each other’s clothes in TV transvestism. As homosexuality in pederasty
for war against women’s seed won’t let go of the human race as its host womb
slave, music, lyrics and video are a contaminated means of propaganda for the
alien exterminator of the futa race,
which is either heartily embraced by the evil protagonists, or unconsciously
rejected and ignored by the musician, as a ‘good Samaritan’, who promotes
romance and love, for example, because of its reputed efficaciousness in having
people pay for the happiness in their ears.
The correlation
between the ears, and their rears, in homosexuality is that of the coffin
handles. The evident boon of the 20th century was the personal
stereo with ear buds, which allowed freedom of movement to the listener everywhere
they went, without fear of being steered by the handles of the coffin, that is,
turning the head, this way and that, or going this way, and that way, to avoid
the disturbing noise emitted by other throats, with perhaps ulterior designs in
their peremptory resonant assertiveness. The common praise for individuality
is, ‘moving to the beat of a different drum’. However, there’s no more
different beat than homosexuality to the human, which made the Japanese Sony
company’s Walkman a mandatory fashion accessory, when the first personal stereo
began to be mass manufactured in 1979. For homosexuals, boys are quarry, hunted
like animals, and they have such a total disregard for women that it’s an
absolute, which means learning through avoidance therapy, that is, tuning in to
what turns on, and tuning out what doesn’t, or the ears become coughin’ handles
for ‘Citizens Band’ (CB) radio meddlers, controlling the mind through the teeth’s
gratings, as homosexuality virally spreads its SARS. The turning cars of the
human race, going around on its spit, as the homosexuals have the last drag on
its penis, before throwing the butt away; carbon monoxide’s poisonous
pollution, catalytically converted as perfume behind their rears: the farters
of humanity.
1 Freedman, Max C., and James E. Myers (Jimmy De Knight)
‘Rock Around The Clock’ (1952), Bill Haley and His Comets, Decca, 1954.
2 Leiber, Jerry, and Mike Stoller ‘Jailhouse Rock’, Elvis
Presley, RCA Victor, 1957.
3 Page, Jimmy, and Robert Plant ‘Houses of the Holy’, Led
Zeppelin, Physical Graffiti, Swan
Song, 1975.
4 Byford, Biff, Steve Dawson, Pete Gill, Graham Oliver, and Paul
Quinn, ‘747 (Strangers in the Night)’, Saxon, Wheels of Steel, Capitol, 1980.
5 Mustaine, Dave ‘Hangar 18’, Megadeth, Rust In Peace, Capitol, 1990.
6 Bates, Tyler, and Marilyn Manson ‘Killing Strangers’,
Marilyn Manson, The Pale Emperor,
Hell, etc., 2015.
7 Vanda, Harry, and George Young ‘Big Balls’, AC/DC, Dirty Deeds Done Cheap, Albert, 1976.
8 Johnson, Rebecca Rose (Bekuh Boom), and ‘Teddy’ Park ‘Kill
This Love’, Blackpink, Digital and Pink,
YG, 2019.
9 Healy, Melissa ‘Did failure to adequately treat HIV
patients give rise to the Omicron variant?’, Los Angeles Times, https://www.latimes.com/science/story/2021-12-02/did-omicron-coronavirus-variant-arise-in-patient-with-uncontrolled-hiv ,
December 2nd, 2021, 4 am Pacific Time (PT).
10 Kulick, Bruce, and Gene Simmons ‘Trial By Fire’, Kiss, Asylum, Mercury, 1985.
11 Chen, Tanya ‘An 8-Year-Old Wrote An Original Song Called
"I Wonder What's Inside Your Butthole" And It's A Quarantine Smash’,
May 4th, 2020, 12. 42 am, https://www.buzzfeednews.com/article/tanyachen/girl-song-wonder-whats-inside-your-butthole
.
Note
* On September 11th, 2001, Moslem extremist terrorists, the Al Qaeda, ‘base’, group, operating under the auspices of the notoriously misogynist Islamic Taliban regime of Afghanistan, and led by Saudi Arabian heir to a civil engineering business, Osama Ben Laden, hijacked civil airliners to crash into the Twin Towers of the World Trade Center, Manhattan island, New York city, New York state. A further airliner was crashed into the Defense Department building, the Pentagon, Arlington, Virginia state, while a fourth plane was brought down in a field at Stoneycreek Township, near Shanksville, Pennsylvania state, by irate passengers, who’d wrested control of the aircraft, apparently on its way to Washington, D.C., where the then President of the United States of America, George W. Bush Jnr, had his official White House residence, away from the terrorists, but were unable to pilot it.